A retrospective exhibition, covering sixty years of painting and sculpture by Salvador Dali, opened at the Georges-Pompidou Centre in Paris on Tuesday (18 December).
GV EXTERIOR (MUTE) Pompidou Art Centre in Paris
GV INTERIOR People viewing Dali paintings
CU Floating rail carriage ZOOM OUT TO leaping figure in canvas, La Gare de Perpignan (2 shots)
SCU AND CU Buste de Femme with weathercock-style man and woman figures on head (2 shots)
CU Tete de Venus Otorhinologique (2 shots)
SV Patrons studying paintings
SCU Rear view of nude woman (2 shots)
CU The Crucifixion (3 shots)
GV INTERIOR Dali at news conference (HOLD SOUND DOWN FOR INTRO) and reporters (2 shots)
CU Dali answering questions in French (4 shots, including cutaway of Senora Dali)
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Background: A retrospective exhibition, covering sixty years of painting and sculpture by Salvador Dali, opened at the Georges-Pompidou Centre in Paris on Tuesday (18 December). It is the first retrospective in France of the Spanish-born surrealist artist's work.
SYNOPSIS: Inside the Centre, the organisers had gathered from many museums and private collections one hundred and sixty-eight paintings, two hundred and nineteen sculpture and about two thousand documents.
One of his most famous canvases the Station at Perpignan, reveals the style that Dali called `paranoiac critical'. Dali said the inducted hallucinatory state to produce such images, both on canvas and on film.
In the late 1920s, Dali's evolved his famous style after reading about the erotic significance of subconscious imagery in the works of Sigmund Freud. He moulded his approach to art through mingling at that time with the Paris Surrealists, a group of artists and writers who sought to show that man's subconscious produced a "greater reality" than his reason. This noted study shows his Gala, his companion and inspiration for fifty years, watching herself turn into a staircase.
For the layman, perhaps the most famous and most widely-reproduced of Dali's paintings are his classically religious works, notably two studies of the Crucifixion. Here he reproduced a burly, clean -shaven Christ as a `body over cubes'.
After striking workers at the Centre had thwarted his initial entrance, Dali spoke to the Press in his freewheeling manner.
A facetious question on whether he actually liked the paintings of Dali, was answered with a resounding "Not at all". Though Senor Dali, who has been described as the most relentlessly self-advertising artist of the century, did consider some of his work was more important than Albert Einstein's Theories. In part, this exhibition celebrates Dali's three quarters of a century on the planet; he turned seventy-five last May. There is a museum dedicated to his work at Figueras, his birth-place in Catalonia in north-eastern Spain.
Senor Dali said the guiding force for mounting the exhibition at the Pompidou Centre had been his wife, Gala. He felt that artists had to pay homage to Paris, and considered that, next to the permanent exhibition at Figueras, this retrospective was the most important event in his life. The galleries of the Pompidou Centre were displaying a lot of dazzling things. The various works display his talents as artist, writer, dramatist, poet, sculptor, and a creative force of the early cinema, with his fellow Spaniard, the director Luis Bunuel. The retrospective will run until April the fourteenth next year.